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The Trappers Return, 1851 by George Caleb Bingham, Detroit Institute of Arts.
Bingham made a living painting portraits early in his career as an artist, but eventually switched to genre paintings like this. In this version you can see more of a resemblance to a bear cub.
Fur Traders Descending the Missouri, 1845 by George Caleb Bingham, The Metropolitan Museum of Art.
Bingham studied art in the US and in Europe, he lived in Missouri where his family had moved when he was a child. Bingham eventually took up a life in politics. Some experts differ as to the animal with the collar in the front of the boat. Some say it is a cat and some a bear cub.
The Prison, plate VII, c. 1760 by Giovanni Battista Piranesi.
Piranesi was always very interested in architecture as his etchings prove. He set about recording the many great monuments and the architecture of Rome.
Archduke Leopold Wilhelm in his Gallery at Brussels, c. 1651 by David Teniers.
We are so used to seeing large expanses of wall surrounding works of art, but that is really only a 20th century method of hanging paintings, for years it was done like the gallery in this painting - floor to ceiling, stacked on top of each other.
Paul Helleu Sketching with his Wife, 1889 by John Singer Sargent, The Brooklyn Museum, New York.
Rather than the more formal portraits for which he is better known, in this piece we see a portrait by Sargent, but in a casual setting.
The Lamentation by Giotto di Bondone, Scrovegni Chapel, Padua.
The emotion and naturalism found in Giotto's 14th century frescos are among the reasons he is considered one of the founders of modern painting and his style paved the way for the artists of the Renaissance to follow. His understanding of space and the use of the landscape as a means to lead the viewer to the primary action in the scene, was revolutionary.
Acrobat and Young Harlequin 1905 by Pablo Picasso, The Barnes Foundation.
Painted in 1905 this work is part of Picasso's Rose Period that The Barnes Foundation .came after his Blue Period. His subjects during this time often included acrobats dancers and harlequins.
Beata Beatrix, 1872 by Dante Gabriel Rossetti, The Art Institute of Chicago.
This is a portrait of Rossetti's wife Elizabeth Siddal that was painted after her death. In it he casts her as Dante's Beatrice, thereby casting himself as his namesake. When Siddal died he was so overcome with grief he buried his manuscript book of poetry along with her (five years later he retrieved it).
The Bower Meadow, 1850-1872 by Dante Gabriel Rossetti, Manchester City Art Galleries, UK.
Begun in 1850 the background is Knole Park, Kent which he painted out of doors with William Holman Hunt. The Pre-Raphaelites advocated painting out of doors in natural settings, but this is the only time Rossetti ventured down that road. He completed the figures in 1872.
The Day-dream, 1880 by Dante Gabriel Rossetti, Victoria and Albert Museum, London.
The model in this piece, Jane Morris is the wife of William Morris and it is a widely held belief that Rossetti and Jane carried on an affair.
La Belle Iseult, 1858 by William Morris, The Tate Modern, London.
The model for this work is Jane Burden who later became the wife of William Morris and lived with him at Red House. Note his emphasis on the design and detail in the room, he later gave up painting in favor of interior design and was very successful with Morris & Co.
Pewabic Pottery in the Guardian Building, Detroit
Detail from Pewabic Pottery tile decoration from the Guardian Building, 1928, Detroit MI.
Mary Chase Perry Stratton and her partner Horace Caulkins founded the Pewabic Pottery based on the Arts & Crafts style and ideal sweeping the country. The building they built in 1907 they moved to the building that still houses an active pottery, museum and store.
Pewabic Pottery Tiles the Guardian Building, Detroit.
I received this fantastic book as a gift and had to re-post the Guardian Building. Anyone who is into architecture will love it and Detroiters need to see it to appreciate gems in that city (before they disappear).
Fruit Still Life in a Landscape, c. 1872 by Severin Roesen, Los Angeles County Museum of Art.
Now that is a selection of fruit.
Peacock Tile Panel by William De Morgan, Formally The Peacock House now run by the Richmond Fellowship, London.
William De Morgan became involved with the Pre-Raphaelite movement through William Morris. Morris, Burne-Jones and others were interested in medieval decoration for their homes and De Morgan's tiles were the perfect addition.
An Allegory of Venus and Cupid, c.1550 by Agnolo Bronzino, National Gallery, London.
Bronzino's style is known as Mannerism, a style of exaggeration and poses. The meaning of the allegory is uncertain but figures such as Time (the old man), Cupid with his wings and Venus holding the golden apple she received from Paris, are easily recognizable.
Leisure Hours by John Everett Millais, The Detroit Institute of Arts.
Late in his career, Millais gave up the idealisim of his youth and the PRB and created very popular and sentimental pieces. He was also quite sought after as a portrait artist for his ability to create beautiful paintings around his subjects.
Landscape at Chaponval, 1880 by Camille Pissarro, Musée d'Orsay, Paris.
Pissarro is the only artist to exhibit his work at all the "Impressionist" shows. Throughout his career he remained true to the Impressionist vision of capturing moments in light.
William Adolph Bouguereau, Virgin with Angels, 1900.
Bouguereau often included angels, cupids, putti etc in his artwork. His art was very popular during his lifetime and continues to be popular today, as well.
The Adoration of the Magi, c.1445 by Fra Angelico and Filippo Lippi,
Virgin of the Angels, 1881 by William Adolph Bouguereau, The Getty Museum, Courtesy of Forest Lawn Memorial Park Association.
This painting was restored by the conservation specialists the Getty Museum and in exchange for restoring the work the owner, The Forest Lawn Museum, allowed the Getty to display the work. Bouguereau was very popular during his lifetime and while often panned by critics, remains a popular artist among museum visitors today.